By
Lauren Yarger
I didn’t think anyone but Christian Borle, who won a Tony award for his
performance, could make me laugh so hard at something so horrifying as losing a
hand, but I was wrong.

Michael Doherty,
turning in a hilarious portrayal of the pirate Black Stache, soon-to-be Captain
Hook in the Peter Pan story, has the audience in stitches over at Jorgensen
Theater where Peter and the Starcatcher is receiving a strong production as
part of CT Repertory’s Nutmeg summer Series.

Doherty commands the
stage pirate style and delights with the humor in Rick Elice’s script, Based on the Novel by Dave Barry and Ridley Pearson
(in turn based on the Peter Pan story by J.M. Barrie). The fanciful production,
directed by Vincent J. Cardinal, tells the story of Peter before he
became Pan. If you ever have wondered why he didn’t want to grow up, how he
hooked up with the Lost Boys -- led here by Ted (Ryan
Shea) and Prentiss (Scott Redmond) – or how Captain Hook lost his hand, be
prepared to find out.

The
abused orphan boys find themselves aboard the Neverland, a ship captained by
the notorious Slank (Forrest McClendon) bound for an island where they will be
slaves or worse. Also aboard is Molly Astor (Raegan Roberts) a junior
Starcatcher, who is helping her father, Lord Astor (Mark Blashford ), aboard
another ship, safeguard the queen’s stardstuff – parts of stars that have magical
and dangerous power to turn people what they most want to be. Communicating in
ancient languages and through some sort of telepathy made possible by stardust
contained in amulets they wear around their necks, father and daughter work to
keep the queen’s treasure out of the hands of Black Stache and his pirates,
including Stache’s right-hand man Smee (an entertaining Jonathan Cobrda).

Meanwhile,
Molly’s nanny, Mrs. Bumbrake (played for some reason by a male, Jason Bohon)
finds unexpected romance aboard ship with flatulent sailor Alf (Greg Webster). Everyone
ends up in conflict with angry natives, led by King Prawn (McClendon) on an
island following a shipwreck. The storytelling is enhanced by choreography by
Roberts, colorful and fanciful costumes by Christina Lorraine
Bullard and Music by Wayne Barker (it is
conducted by Jose C. Simbulan who leads a two-person band).

All of this plays out
on a rag-tag set (designed by Tim Brown with Lighting Design by Michael
Chybowski, Sound Design by Michael Vincent Skinner and Technical Direction by
John W. Parmelee) where ropes suddenly become the sides of a ship, a ladder,
some lights and cloth flags transform into a hungry crocodile and actors morph
into squeaky doors. It’s enchanting and dare I say it, I think I enjoyed this
production even more than the national tour that came through the Bushnell in
2014.

One criticism. Someone
couldn’t resist throwing a in a dig about Donald Trump. It seemed out of place
and unnecessary. What would have been fun, however, would have been to throw
some commentary in about Britain having just voted to withdraw from the European
Union the day I saw this production. Several lines in the vein of “it’s a bad
day to be an Englishman” were just ripe for this and seemed almost flat without
some kind of comment on current events. Priorities, I guess.

While the show is fun,
there’s a darker side to it (Peter is beaten, for example) and it contains some
gems of thought to ponder. Overall it’s entertaining whether or not you are a
fan of Pan.

Peter catches starstuff through July 2 at the Harriett S. Jorgenseon Theater on the Storrs UConn campus. Performances are Tuesday, Wednesdays and Thursdays at 7:30; Fridays and Saturdays at 8 pm. Matinees at 2 pm Wednesday, Saturday and Sunday. Tickets $12 to $55: www.crt.uconn.edu; (860) 486-2113.

One Sensation, Hardly Singular.... There’s
Lots Going on in This Small Space

By Lauren Yarger

It’s the show that has become a
tradition in theaters across America since it took Broadway by storm and won a
Pulitzer Prize to boot in 1976, but the production of A Chorus Line at Playhouse on Park seems fresh and surprisingly
contemporary.

Part of the reason is outstanding
choreography by Darlene Zoller, who Co-Directs with Sean Harris. Zeller
recreates the traditional look of the chorus with multiple lines that use the
theater’s small thrust space on the floor and all three sides of the audience
end up with fabulous seats. The precision is remarkable.

They set the show in a rehearsal
space, rather than on a Broadway stage) where a wall of mirrors (designed by Christopher
Hoyt) turns in to backdrop. The
result is that we feel we are right there with these kids, and that the action
is taking place now, even if the show is set in 1975. The run time of the show
is a brisk two hours without intermission (I have seen some versions that run
almost three hours). This mostly non-Equity show stands up against some of the
most satisfying productions of the Marvin Hamlisch musical I have seen.

With a book by James Kirkwood and Nicholas Dante and
Lyrics by Edward Kleban, A Chorus Line
tells the story of a bunch of Broadway hopefuls auditioning for a musical.
Director Zach (Eric
S. Robertson) and his assistant Larry (Spencer Pond, who assists Zoller with
choreography) put the dancers through their paces, but Zach is looking for more
than just dance talent for the eight slots he has available in the line. He
wants to know something about the kids personally too and asks them to share
some of how they got to this audition.

There’s
Val (Andee Buccheri) who always has been concerned about her looks and body, Mike
(Alex Polzun) who can tap anything, vulnerable Mark (Jared Starkey), diminutive
Connie (Rina Maejima). Sheila, Bebe and Maggie (Tracey Mellon, Kayla Starr
Bryan and Sarah Kozlow ) who escaped their unhappy home life by taking
ballet lessons, married couple Kristine (Mallory Cunningham) and Al (Jeremy
Seiner), shy Paul (Tino Ardiente ) who
began his career as a drag performer and a number of other hopefuls who fill
out the ensemble.

Zach
is most interested to know why his former lover, Cassie (Michelle Pruiett) want
to be back in the chorus since she actually made it out as a featured
performer. She hasn’t worked in a couple of years, however, and she just wants
to dance.

The
story is told in dialogue between the performers, and also in expressions of
what they are thinking. Songs like “I Hope I Get
It,” “At the Ballet,” “Dance: Ten; Looks: Three,” “The Music and the Mirror,”
and “What I Did for Love,” have become classics. The famous closing chorus line
to “One .... Singular Sensation” is the only time Zoller and Harris yield to
tradition expectations in the production (along with the gold costumes and top
hats, designed by Lisa
Steier (though lighting designed by Christopher Bell fails to give adequate spotlight
to the actors who have made the cut and landed in the production).

Music Directors Emmett Drake and
Michael Morris appropriately keep the accompaniment toned down so we aren’t
blown out of the small theater space. A very good production of the classic. If
you haven’t ever seen the show, don’t miss this one.

A Chorus Line kicks up at Playhouse on Park through July 31. Performances are Wednesday and Thursday at 7:30 pm; Friday and Saturday at 8 pm; Sunday at 2 pm. Tickets $35-$45. Additional special ticket offers are available. 860-523-5900 x10 or visit www.playhouseonpark.org.

Note: the theater warns “Parental
Discretion Advised due to language, recommended for ages 13 and up.”

Tuesday, June 14, 2016

Two world premieres -- Hartford Stage's Broadway-bound Anastasia
and Yale Repertory Theatre's Indecent, which is currently playing Off-Broadway -- received top
honors as outstanding musical and play at the 26th annual Connecticut Critics
Circle Awards June 13 at Hartford Stage, which co-hosted the event with
TheaterWorks.

Tina Fabrique, who starred in the musical Ella in
productions in theaters across the country, was master of ceremonies and
performed at the show, which honors outstanding achievements in the state's
2015-16 professional theater season.

Awards:

Outstanding director of a play: Rebecca Taichman for Indecent

Outstanding director of a musical: Darko Tresnjak for Anastasia

Outstanding actor in a play: Rajesh Bose for Disgraced at
Long Wharf Theatre

Outstanding actor in a musical: Bobby Steggert for My Paris
at Long Wharf Theatre

Photo courtesy of Frank Rizzo

Outstanding actress in a play: Erika Rolfsrud for Good
People at TheaterWorks

Outstanding actress in a musical: Christy Altomare for Anastasia

Outstanding choreography: Peggy Hickey for Anastasia

Outstanding ensemble: Indecent

Outstanding featured actor in a play: Charles Janasz for Romeo
and Juliet at Hartford Stage

Outstanding featured actress in a play: Birgit Huppuch for The
Moors at Yale Repertory Theatre

Outstanding featured actor in a musical: Teren Carter for Memphis
at Ivoryton Playhouse

Anne Keefe, stage manager of New Haven's Long Wharf Theatre and on Broadway
for more than 25 years and part of the leadership team that saved and
transformed Westport Country Playhouse, received the Connecticut Critics
Circle's Tom Killen Award for lifetimes achievement in the theater. Longtime
colleague Allison Harris presented the award and read congratulations from
former Long Wharf Theatre artistic director Arvin Brown and actor John Lithgow.

Special awards were presented to Lisa Gutkin and Aaron
Halva, co-composers and co-music directors, who created the Klezmer music for
Yale Rep's world premiere of Indecent.

Sacred meets profane, Mendelssohn meets The Electric Light
Orchestra and six young girls lose their innocence while discovering themselves
in Our Ladies of Perpetual Succour, a
presentation at Yale Repertory Theatre as part of New Haven’s Festival of Arts
and Ideas.

This
marks the American premiere ofthe show, adapted by Billy Elliot author Lee Hall from“The
Sopranos” by Alan Warner. It is a
co-production bythe
National Theatre of Scotland and Live Theatre, Newcastle and is directed by Vicky
Featherstone, who headed the National.

It
follows the tale of six girls from Our Lady of Perpetual Succour as they travel
to Edenborough to compete in a choral contest. We already have heard them
perform a sublime a cappella version of Lift Thine Eyes by Mendelssohn while
standing angelically in their school uniforms and rock out to the music of Electric
Light Orchestra’s Jeff Lynne, so we know they have the musical chops to make
Perpetual Succour a contender. (The music
is arranged and supervised by Martin Lowe. A three-piece band accompanies on
stage.)

Unbeknownst
to their Mother Superior, Sister Condron (whom they, of course, call Condom), however,
the girls also see the trip as a chance to break away from the stifling
Catholic school environment and “go mental.” Translation: swear a lot, get rip-roaring drunk and enjoy
lots of sexual experiences.

The
girls have different motivations for wanting to go “mental. “ Orla (Joanne
McGuinness ) is looking for an escape from the cancer she has been fighting; Kay (Karen Fishwick ) is looking for some fun before going off to university, Fionnula
(Dawn Sievewright) already has some sexual experience, but is looking
for love and Chell (Caroline Deyga), is escaping the abundance of death that
has marked her young life. The motives for Manda (Kirsty MacLaren), Kylah (Frances
Mayli McCann) and Chell (Caroline Deyga) are less obvious.

They
do a lot of their intended activities on that bus trip while some make
discoveries about their sexual orientation.
One of them already has some experience, at least when it comes to sex
with a guy: she is pregnant.

“Excuse
me but I think I’m passionately in love with you or your friend or both of
yous, ah don’t really have ma emotions about yous sorted out yet. Is there a
chance I could ask you out tonight in any combination? I’ll give you every drug
on me for your phone number,” says one of the men they meet.

“All
we need is fifty pence each for the busfare,” replies Fionnula.

Now
if all of that sounds like a good time to you, you would be in the same
category as Hall, who apparently read the original book and thought it was so
funny that he couldn’t wait to adapt it for the stage. Waiting involved for me,
however, looking at my watch in the hopes that we were near the end and
discovering that we had another 50 minutes before the final curtain (the show
runs one hour and 45 minutes without intermission).

I
guess a bunch of young girls having sexual experiences with undesirable men
(one invites them for some fun while doing a naked handstand to give full view
of his erection) and each other just isn’t my cup of tea. The singing was the
best part of the show as the voices are all very good (Dayga in particular has
a wide range including a heavenly lower register) and blend beautifully in
harmony.

Our Ladies of Perpetual Succour plays through June 25 at Yale Repertory Theatre, 1120 Chapel St., New Haven. For
more information about what’s happening at the Festival of Arts and Ideas,
visit www.artidea.org.

Saturday, June 4, 2016

By
Lauren YargerThere’s a man who knows too much.
He can see spies from the rear window, planes are hunting him north by northwest
and the lady who gave him some important information has vanished.

If you are seeing a
Hitchcockian trend there, you’re right and should probably get yourself right
over to Ivoryton Playhouse where the hilarious spoof of the film, The 39 Steps, is getting a run.

This Tony-Award
nominated play conceived by Simon Corble and Nobby Dimon has four actors taking
on all of the parts (there are more than 150) in the 1935 Alfred Hitchcock
thriller. The play’s book is written by Patrick Barlow as a farce, borrowing movie’s
plot, based on the novel by John Buchan. While the Hitchcock film is strictly a
serious life-and-death thriller, this version is a hoot.

In pre-World-War II
England, Richard Hannay (Dan Fenaughty) finds himself in the middle of a race to
get secret information about the nation’s air defense out of the country. Mysterious
Annabella (Larissa Klinger) mentions “The 39 Steps” just before she is
murdered.

Hannay finds himself on the run when he is suspected of her murder,
but he isn’t sure why all these spies are chasing him or what “The 39 Steps”
mean. In a trek that takes him to Scotland and back to a music hall in London,
Hannay ends up romantically attached -- physically by handcuffs when they make
an escape from spies (Jonathan Brody and David Edwards) masquerading as police
officers – to Pamela Edwards (also Klinger) who doesn’t believe his outrageous spy
tale at first.

Full of slapstick,
the play spoofs the movie and has some fun with references to others of
Hitchkock’s classic films. The rotund director even makes a cameo appearance in
the tradition of his silhouette appearing in the background of a scene.

The gags are funny
and imaginative: a few travel trunks transform Daniel Nischan’s
set into the top of a speeding train where an exciting chase ensues; a door
opens to reveal, with the help of a few shadows and music (Lighting Design by Marcus Abbott; Sound Design by Tate
R. Burmeister), a festive party taking place somewhere else in a house or winds
blowing in from the Scottish moors.

Edwards and Brody, officially billed as Clowns #1
and 2, play a plethora of characters,
making lightning-fast transitions between them at times with just the change of
a hat (Costume Design by Cully Long; Wig Design by Elizabeth Cipolina). The actors are funny and particularly amusing when playing some of the female
characters.

Fenaughty is dashing
as the handsome hero and he and his real-life wife Klinger bring natural chemistry
to the parts (and seem to be having a lot of fun up there together).

I saw a preview of
the show, so I am hoping that the one flaw -- a creeping pace -- will be corrected
by Director Erik Bloomquist before opening. The split-second timing and quick
pace are essential to the successful execution
of this farce.

Catch Hannay if you can in The 39 Steps at Ivoryton Playhouse, 103 Main St., Ivoryton, through June 19. Performances are Wednesday and Sunday matinees at 2 pm. Evening performances are Wednesday and Thursday at 7:30 pm, Friday and Saturday at 8 pm. Tickets are $44 for adults; $39 for seniors; $22 for students and $17 for children. (860) 767-7318; www.ivorytonplayhouse.org

CT Rep
Succeeds Nicely in the Business of Opening the Summer Nutmeg Series

By Lauren YargerAn
oft-produced musical gets a solid production here at CT Repertory to kick off
the Nutmeg Summer Series.

How
to Succeed in Business Without Really Trying features a
strong cast: “The Love Boat”’s Fred Grandy (a substitute for the originally
announced Charles Shaughnessy), Riley Costello (whose Broadway stardust lit up
the stage here last year as Peter Pan),
the fabulous Tina Fabrique (who is hosting this year’s CT Critics Circle
Awards) and the lovely-voiced Sarah Schenkkan, who appeared last year at CT Rep
in Guys and Dolls.

All of them, and a
large, able, supporting cast, are directed by CT Rep Artistic Director Vincent
J. Cardinal (who just announced he will be leaving UConn at the conclusion of
the summer series to accept the position of Chair of the Department of Musical Theatre and Professor of
Music, School of Music Theatre and Dance at the University of Michigan.)

Costello is mischievousand engaging as J. Pierpont Finch, an
ambitious window washer who wants to climb the corporate ladder. He follows
advice given in a book titled “How to Succeed in Business Without Really
Trying” (voiced by local radio personality Colin McEnroe) to make his way up to
the top one rung at a time. Before long, the scheming Finch finds himself
besting colleagues for promotions at the World Wide Widget company and getting
tight with its head JB Biggley (Grandy).

This farce wouldn’t be
complete without some complications, of course. One of “Ponty”’s chief rivals
is nerdy Bud Frump (Robert Fritz), who just happens to be Biggley’s nephew, and
the boss’s mistress, Hedy LaRue (a laugh-getting, bosom jingling Ariana Shore)
who is masquerading as a secretary at the company, takes a liking to young
Finch. That doesn’t go over well with Rosemary (Schenkkan), a real secretary, who
has decided that Finch is the man of her dreams even if he is distracted by his
get-ahead schemes.

Schenkkan’s lovely
voice is the only thing that makes us want to sit through Frank Loesser’s
irritating, stereotypical lyrics in songs like “Happy to Keep His Dinner Warm:”

I'll
be so happy to keep his dinner warm
While he goes onward and upward
Happy to keep his dinner warm
'Til he comes wearily home from downtown

I'll be there waiting until his mind is clear
While he looks through me, right through me
Waiting to say, "Good evening, dear, I'm pregnant
What's new with you from downtown?"

I have to wonder why theaters keep thinking
shows like this are worthy of revival (even Broadway gave How to Succeed a run in 2011 starring Daniel Radcliffe.) I doubt a
person of color singing about how much they were looking forward to a future as
a servant to a white person. or something in that vein, would go over today,
even if that was the way things were in 1961, but apparently we are expected to
brush aside prejudices when they focus on women.

The Loesser tunes are pleasant,
but with titles like “Brotherhood of Man,” “Cinderella, Darling” and “A
Secretary is Not a Toy,” do you get my drift? Note to artistic directors everywhere:
There are lots of other good musicals deserving of a second life. Do a little
homework and find one that doesn’t demean over half of your audience. But I
digress…..

One woman who doesn’t take any
grief in this production is Miss Jones (Fabrique), Mr. Biggley’s secretary. And
getting to hear the singer let go with some scat in one of the tunes is a
treat.

Talented Costello, who has
received a CT Critics Circle nomination for Outstanding Actor in a Musical for
his turn in Peter Pan, takes command
of the CT Rep stage again and wins the audience. His performance here, by the
way, is better than Radcliffe’s was on Broadway.

Also entertaining is
choreography by Cassie Abate who puts through their paces the cast, colorfully
clothed in period costume by Christina Lorraine Bullard. One
number, where Costello shows his physical prowess, has him dancing all over a
couch, and he and a bunch of the male chorus step into a rousing tap dance
number as well.

On the technical side,
Tim Brown designs the set (and projection designs) – those blue/green honeycomb
patterns put me in mind of one of the other numerous productions of this musical
I have seen recently. Lighting Design by Michael
Chybowski is spot on, so to speak, but there is some static in the sound designed by Michael Vincent Skinner.

How to Succeed plays through June 12 at the Harriet S, Jorgenson Theatre on the UConn Storrs campus. Performances are Tuesday, Wednesdays and Thursdays at 7:30; Fridays and Saturdays at 8 pm. Matinees at 2 pm Wednesday, Saturday and Sunday. Tickets $12 to $55: www.crt.uconn.edu; (860) 486-2113.

The original Off-Broadway production of the critically acclaimed comedy Buyer and Cellar will take the stage of Westport Country Playhouse, June 14 – July 3.Michael Urie, who won the Drama Desk, Clarence Derwent, Lucille Lortel, and LA Drama Critics awards for originating the role of Alex More in the show, will reprise his tour de force performance (see a review here).

The Westport staging will be helmed by Stephen Brackett, who also directed the Off-Broadway show, as well as the original artistic team.The comedy is written by Jonathan Tolins, a resident of Fairfield.

New York’s public television station THIRTEEN will tape a performance of the show during its run at the Playhouse for later broadcast on “Theater Close-Up,” the series that showcases Off-Broadway and regional not-for-profit, professional productions for Tri-state viewers.

Urie is well known for the role of Marc St. James on the award-winning “Ugly Betty” television series. A two-time Drama Desk Award winner, he will host the 2016 Drama Desk Awards ceremony on Sunday, June 5.

Off-Broadway Urie played iconic fashion designer Rudi Gernreich in “The Temperamentals,” for which he received the Lucille Lortel, Drama Desk, and Theatre World awards.On Broadway, he took on the role of Bud Frump in How to Succeed in Business Without Really Trying. Urie was also in the Classic Stage Company’s production of The Cherry Orchard, Signature Theatre’s revival of Angels in Americaand played opposite Patti LuPone in Lincoln Center Theater’s world premiere of Shows for Days.

In addition to “Ugly Betty,” Urie’s television credits include the role of Gavin Sinclair in “Modern Family,” as well as “Partners,” “The Good Wife,” “Hot in Cleveland,” “Younger,” and “Workaholics.”He currently hosts the Logo series, “Cocktails & Classics,” and directs the web series, “What’s Your Emergency.”

Buyer and Cellar is about a star named Barbra who has a mall in the basement of her Mailbu mansion.Alex More, played by Urie, is a struggling LA actor who finds himself with the odd job of the mall’s shopkeeper.He takes the audience on a rollercoaster ride of fame and friendship at the outer reaches of American celebrity. (See a review here of the show at TheaterWorks starring Tom Lenk.)

Hartford Stage's Anastasia, Playhouse on Park's Hair,
Goodspeed Musicals' La Cage Aux Folles, Long Wharf Theatre's My Paris and
Ivoryton Playhouse's South Pacific are the nominees for outstanding production
of a musical at the 26th annual Connecticut Critics Circle Awards, which will
be presented 7:30 pm Monday, June 13 at Hartford Stage.

For outstanding production of a play, the nominees are Ayad
Akhtar's Disgraced (Long Wharf Theatre),
David Lindsay-Abaire's Good People (TheaterWorks) Paula Vogel/RebeccaTaichman's Indecent (Yale
Repertory Theatre), John Logan's Red (Westport Country Playhouse) and Samuel
Beckett's Happy Days (Yale Repertory
Theatre).

The awards recognize outstanding achievements from the
state's 2015-2016 professional theater season. The group includes theater
critics and writers from the state's print, radio and on-line media.

The awards event, co=sponsored by TheaterWorks and Hartford Stage, is free and open to the public. Winners will be announced at the
show which will be hosted by Tina Fabrique, who starred in the musical Ella at theaters across the country (including TheaterWorks and Hartford
Stage) and who currently is appearing in How to Succeed in Business without Really Trying at CT Repertory Theatre

Anne Keefe, stage manager of New Haven's Long Wharf Theatre and on Broadway
for more than 25 years and part of the leadership team that saved and
transformed the Westport Country Playhouse, is this year's recipient of the
Connecticut Critics Circle's Tom Killen Award.

Nominees for outstanding actor in a play:

R. Ward Duffy for Good
People (TheaterWorks)

Conor Hamill for Third (TheaterWorks),

Rajesh Bose for Disgraced (Long Wharf)

Steven Skybell for Broken Glass
(Westport Country Playhouse)

Stephen Rowe for Red (Westport Country
Playhouse)

Nominees for outstanding actor in a musical:

Riley Costello
for Peter Pan (Connecticut Repertory Theatre)

Jamison Stern for La Cage Aux
Folles (Goodspeed)

Carson Higgins for Memphis (Ivoryton Playhouse)

David Pittsinger for South
Pacific (Ivoryton Playhouse)

Bobby Steggert for My Paris (Long Wharf)

Nominees for outstanding actress in a play:

Erika Rolfsrud
for Good People (TheatreWorks)

Brenda Meaney for And a Nightingale Sang (Westport Country
Playhouse)

Felicity Jones for Broken Glass (Westport Country Playhouse)

Elizabeth
Lande for Wit (Playhouse on Park)

Dianne Wiest for Happy Days (Yale
Repertory Theatre)

Nominees for outstanding actress in a musical:

Adrianne Hick
for South Pacific (Ivoryton Playhouse)

Renee Jackson for Memphis (Ivoryton)

Katerina Papacostas for Evita
(Music Theatre of Connecticut)

Rashidra Scott for Anything Goes (Goodspeed
Musicals)

Christy Altomare for Anastasia

Rajesh Bose and Nicole Lowrance. Photo: T, Charles Erickson

Nominees for outstanding director of a play:

Rob Ruggiero
for Good People

Rebecca Taichman for Indecent

Gordon Edelstein for Disgraced

Jackson Gay for The Moors (Yale Repertory Theatre)

Mark Lamos for Red

Nominees for outstanding director of a musical:

David
Edwards for South Pacific

Rob Ruggiero for La Cage Aux Folles,

Sean Harris for
Hair

Kathleen Marshall for My Paris

Darko Tresnjak for Anastasia

Nominees for outstanding ensemble:

The casts of Hair,
Indecent, Vanya and Sonia and Masha and Spike (Music Theatre of Connecticut), Measure
for Measure (Long Wharf Theatre) and Art (Westport Country Playhouse.)

Nominees for outstanding featured actor in a play:

Richard
Kline for And a Nightingale Sang

Benim Foster for Disgraced

Charles Janasz
for Romeo and Juliet (Hartford Stage)

Richard Topol for Indecent

Michael
Rogers for The Call (TheaterWorks).

Nominees for outstanding featured actor in a musical:

John
Bolton for Anastasia

Teren Carter for Memphis

Christopher DeRosa for Evita

Tom Hewitt for My Paris

William Selby for South Pacific

Nominees for outstanding featured actress in a play:

Megan
Byrne for Good People

Shirine Babb for Disgraced

Kandis Chappell for Romeo
and Juliet

Jodi Stevens for Vanya and Sonia and Masha and Spike

Birgit Huppuch for The Moors

Nominees for outstanding featured actress in a musical:

Patricia Schumann for South Pacific

Mara Davi for My Paris

Caroline O'Connor
for Anastasia

Mary Beth Peil for Anastasia

Jodi Stevens for Legally Blonde
(Summer Theatre of New Canaan)

Nominees for outstanding choreography:

Darlene Zoller for Hair

Todd Underwood for Memphis

Kathleen Marshall for My Paris

Peggy Hickey for Anastasia

David Dorfman for Indecent

Nominees for outstanding set design:

Alexander Dodge for Rear
Window (Hartford Stage)

Alexander Dodge for Anastasia

Alexander Woodward for The
Moors

Derek McLane for My Paris

Allen Moyer for Red

Nominees for outstanding lighting design:

Christopher
Akerlind for Indecent

York Kennedy for Rear Window

Donald Holder for My
Paris

Donald Holder for Anastasia

Andrew F. Griffin for The Moors.

Nominees for outstanding costume design:

Michael McDonald
for La Cage Aux Folles

Fabian Fidel Aguilar for The Moors

Linda Cho for Anastasia

Paul Tazewell for My Paris

Nominees for oustanding sound design:

Jane Shaw for Rear
Window

Darron L. West for Body of an American (Hartford Stage)

David Budries for Red

Brian
Ronan for My Paris

Peter Hylenski for Anastasia

Nominees for outstanding projection design:

Olivia Sebesky
for My Paris

Aaron Rhyne for Anastasia

Alex Basco Koch for The Body of an
American

Rasean Davonte Johnson for Cymbeline (Yale Repertory
Theatre)

Sean Nieuwenhuis for Rear Window

Receiving an award for outstanding debut is Mohit Gautam for
Disgraced.

Receiving a special award are Lisa Gutkin and Aaron Halva,
co-composers and co-music drectors who created the Klezmer music for Yale Rep's
world premiere of Indecent.

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My Bio

Lauren Yarger is a theater reviewer in New York and Connecticut. She is Second Vice President of the Drama Desk and a voting member of the Outer Critics Circle. She is a member of the American Theatre Critics Association, the Connecticut Critics Circle and is a member of the League of Professional Theatre Women, serving as Founder of its Connecticut Chapter.

A playwright, Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the 2000 Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.”

Yarger trained for three years in the BroadwayLeague’s Producer Development Program, completed the Commercial Theater Institute's Producing Three-Day Training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadwayrun.

She was a Fellow at the National Critics Institute at the O'NeillTheater Center in Waterford, CT.

She was a theater reviewer for the CT Manchester Journal-Inquirer and also was Contributing Editor for BroadwayWorld.com, for which she still contributes. She served as Connecticut theater editorfor CurtainUp.com and as Connecticut and New York reviewer for American Theater Web. Yarger is a book reviewer and writer for Publishers Weekly and freelances for other sites. She is a member of the National Book Critics Circle.

She served as a judge for the SDX Awards presentedby the Society of Professional Journalists. She also served as a member of the Connecticut Critics Circle awards committee.

A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts,the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.